Issues and Resolutions

    Unforeseen in our initial planning, the storyboard yielded various issues. The entire opening keeps consistent angle use, camera movement, and general easy flow between shots that doesn't feel disruptive or awkward in the context of the opening. The first issue is portrayal of increasing anxiety and if we should differ in camera movement and angle use. Initially, the best and main way of conveying this feeling is through editing, with increasingly quicker cuts, inserts, and sound inclusion. However, specific shots is something unforeseen. We believe using different angles and movements would add to the idea of increasing anxiety, showing differences and a disrupt in the character's natural flow as she paints. Of what these shots show, is undetermined, however we will simply leave that to be determined on set during filming since it would be much easier to vision how to proceed with that. 

   

    The other, main issue, is the sequence of the title card and obstructive piece's appearance. It would start (as seen in the storyboard), through a quick shot of her paint brush breaking (may it rest in blessed peace), subsequently showing her, facing the easel, with a small reaction on her face, saying the beloved, glorified, one and only piece of dialogue in the opening, a feces synonym. She will be framed on the left third, and encompassing the rest of the frame behind her, out of focus, would be the obstructive piece - it will be hanged to the ceiling using small hooks. This draws the attention of the viewer from her reaction and to the piece. The shot will cut to black in the middle of her turning quickly around, using sound to elevate its intensity. Here is the issue:

   

    Originally, the sequence would proceed as a slow, zooming out medium/long shot of the piece, cutting to an extreme close up of her eyes as she looks at it, and then the transition swipe title card thing I discussed previously. It feels as if it would be awkward since it doesn't give enough time or variety of shots to instill what is happening into both the character and audience before the title card's conveyance of the hallucination being a hallucination. A possible solution to be able to include the title's transition, is to simply utilize editing in timing and sound to occupy what's necessary for the intended tones, or to include more shots. So the sequence is changed to a semi-low angle of the piece, the close up of the eyes, a physical zone out of the piece - instead of a slow zoom out, the camera would physically move to behind the character's head (head framed on right third, piece on middle/left) and then start the transition. Swipe, title, swipe back, piece, and finally a medium or close up of her face again. Afterwards, using a sound bridge of running water, we will display the character getting water and as mentioned above.